A Penchant for Perdita on the Eighteenth-Century English Stage

1977 ◽  
Vol 6 (1) ◽  
pp. 331-346
Author(s):  
Irene G. Dash
Keyword(s):  
Eighteenth Century ◽  
English Stage

The Eighteenth-Century English Stage

1975 ◽  
Vol 70 (1) ◽  
pp. 157
Author(s):  
M. E. Kimberley ◽  
Kenneth Richards ◽  
Peter Thomson
Keyword(s):  
Eighteenth Century ◽  
English Stage

Samuel Foote'sPrimitive Puppet-Shew

1973 ◽  
Vol 14 (1a) ◽  
pp. 1-129
Author(s):  
Samuel N. Bogorad ◽  
Robert Gale Noyes
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Full Length ◽  
Biographical Sketches ◽  
English Stage

Few names appear with greater frequency than Samuel Foote's in the accounts and annals of the later eighteenth-century English stage. Biographical sketches of various degrees of reliability, and collections of jokes, witticisms, andbon motsattributed to Foote began to appear in the year of his death; and there has been intermittent interest in the man and his works even to the present time. The only full-length attempts at biography in the twentieth century have been Percy Fitzgerald'sSamuel Foote: A Biography(1910) and Simon Trefman'sSam. Foote, Comedian, 1720–1777(1971), neither of which can be regarded as a definitive life.

Giulia Frasi: Singer of Sentiment

2020 ◽  
Author(s):  
Jonathan Rhodes Lee
Keyword(s):  
Eighteenth Century ◽  
Contemporary Culture ◽  
Musical Education ◽  
Artistic Representation ◽  
Musical Works ◽  
Public Persona ◽  
English Stage

Abstract Handel and his artistic collaborators worked in an age that prized the moral potential of emotion, particularly as mobilized in artistic representation. From weeping comedies and moving she-tragedies on the English stage to sentimental novels in the private closet and even powerfully moving sermons from the nation’s pulpits, eighteenth-century audiences received a constant onslaught of emotionally charged rhetoric that aimed at inspiring virtue. This article provides several examples of how Handel’s music, particularly his works of the 1740s and 1750s, operated within this contemporary culture of sentiment; it uses the career of Handel’s last leading lady, Giulia Frasi (fl. 1742–72), as an illustration of the nexus between these ethical-aesthetic trends, Handel’s musical works, and this singer’s career. Examination of Frasi’s musical education, the works that she performed, and her public persona shows that she cultivated a place in the culture of sentiment, both on and off the stage.

Thomas 'Jupiter' Harris

2018 ◽  
Author(s):  
Warren Oakley
Keyword(s):  
Eighteenth Century ◽  
Real Thing ◽  
The Real ◽  
Secret Service ◽  
Thomas Harris ◽  
History Of ◽  
English Stage ◽  
Spin Doctor ◽  
George Iii ◽  
Theatre Management

This is the first biography of Thomas Harris (1738-1820). Until now, little has been known about his life. He was most visible as the man who controlled Covent Garden theatre for nearly five decades, one of only two venues in London allowed by law to perform spoken drama. Harris presided over one of the most eventful periods in the history of the English stage; uncovering his involvement provides new perspectives upon landmark events in London’s history. But this career was only one of many: he became the confidant of George III, a philanthropist, sexual suspect, and a brothel owner in the underworld of Covent Garden. While deeply involved in Pitt the younger’s government, Harris worked as a ‘spin doctor’ to control the release of government news. Only through understanding his career is it possible to appreciate fully the suppression of radicalism in the period. As novelists created elaborate storylines with fictional intriguers lurking in the shadows, Harris was the real thing. Harris’s career intersects many of the hidden worlds of the eighteenth century including the art of theatre and theatre management, the activities of the Secret Service, radical protest, and sexual indulgence. This narrative of detection brings together a hoard of newly discovered manuscripts to construct his numerous lives.

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